Meaning: The quote by Ian Hamilton Finlay captures his disillusionment with concrete poetry and his frustration with its confusion with visual poetry. To understand this quote, it is essential to delve into the history and characteristics of concrete poetry, as well as its distinction from visual poetry.

Concrete poetry is a form of poetry in which the visual arrangement of the words and letters on the page is as important as their meaning. The term "concrete poetry" was coined in the 1950s to describe a type of poem that was intended to be seen as a visual object, often with words arranged in non-traditional patterns or shapes. This departure from traditional poetry forms was intended to create a more direct and immediate connection between the poem's content and its visual presentation.

Ian Hamilton Finlay's frustration with concrete poetry may have stemmed from the proliferation of poor quality or unoriginal examples of the form. As with any artistic movement, the popularity of concrete poetry led to a flood of imitations and subpar works that diluted the impact of the genuine and innovative pieces. The influx of mediocre concrete poetry may have led Finlay to become disenchanted with the form, feeling that its potential had been squandered by the abundance of lesser works.

Additionally, Finlay's mention of the confusion between concrete poetry and visual poetry points to a broader issue within the realm of experimental poetry. Visual poetry, while sharing some similarities with concrete poetry in its emphasis on the visual presentation of the text, is a distinct form with its own history and characteristics. Visual poetry often incorporates imagery, graphics, and other visual elements in addition to or instead of the arrangement of words and letters. The conflation of these two distinct forms may have been a source of frustration for Finlay, as it could have led to a misunderstanding and misrepresentation of the artistic intentions behind each form.

It's important to note that Ian Hamilton Finlay was a significant figure in the realm of concrete poetry and visual poetry. He was a Scottish poet, writer, artist, and gardener, known for his contributions to these experimental poetic forms. As a pioneer in the field, Finlay likely had a deep understanding of the potential and pitfalls of concrete poetry, and his disillusionment with the form carries weight given his expertise and experience.

In conclusion, Ian Hamilton Finlay's quote reflects his weariness with the state of concrete poetry, particularly the prevalence of poor quality examples and the confusion with visual poetry. By examining the historical context and distinguishing features of these poetic forms, we can appreciate the significance of Finlay's sentiments and the challenges faced by innovative artists working within experimental and visual poetry.